Alex's new high-end recording studio, AND why dynamic range compression is a good thing!
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- Опубліковано 12 вер 2024
- Alex Sterling's Precision Sound Studio is, after nearly three years of planning and construction, complete! The Audiophiliac dropped by to take the tour and discuss the details with Alex.
More about the studio, precisionsounds...
Space Lab's motorized speaker stands website is still weeks away from launch, spacelab.systems
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I really enjoyed this studio tour and I'm in agreement with almost everything Alex says here (although I disagree with his feeling-certainly a joke-that the engineer is relatively unimportant). As someone who has engineered longer that Alex has been alive (maybe)-around 40 years, I'd like to put things in perspective by making a list, in order of importance, of what goes into making a great recording thinking as a true music lover:
Content quality
Musician skill and preparation
Producer skill
Engineer skill
Musician equipment
Room quality.
Recording equipment (working properly)
Recording equipment (specs)
Finally IMO the ability to manage dynamics throughout the chain of recording is the biggest defining factor in judging the skill of an engineer.
Thanks Steve for another great video and good luck to Alex with his new room. Maybe we'll meet someday.
I remember this guest ! He made me change my understanding of compression.
Precision Sound Studios is certainly looking great! 👀 It’s awesome to see Alex again and the incredible upgrades he’s done to the studio since a few years ago when you first had him on your show, Steve. Thanks for the wonderful chat, Alex and Steve! 🎶🎤🎵🔊👏👏👏🌝
Thanks Nick!
Wow, looks fantastic. I used to set up and construct smaller studios, but this was 35 years ago, so things have changed a lot!
Compression is a great tool which can really help with a lot more than simply compressing dynamic range, such as changing transient response etc and its great to see this being expressed here on this channel. It's also used to adjust the timbre of many instruments, and using compression and vast array of different compressors is an artform of its own (check 'House of Kush' on youtube for excellent demos of this.)
The issue is the over compression of modern masters, where hi-fi is not sought and there a rush to achieve maximum volume- yuk!
I am delighted to see this kind of content on an audiophile channel, and you have done us proud to have this here Steve!
There's no doubt in my mind that we can enjoy music more and make better choices by understanding every part of where our music comes from, so a video like this is simply excellent to see, thank you again, and a huge thanks to Alex for letting us see!
Alex reminds me of my dear friend who recently passed away who was an incredible electronics engineer. He contributed almost 10,000 posts on Audiogon and was so highly regarded on this site that other contributors gave him the nickname of master or something like that. His name was Al Wirtenberg. He had a similar personality to Alex and Al was so understandable when he wrote or spoke and so calm that everyone loved his comments and he was almost always 100% correct.
This is about the best interview with regard to the recording process that I have ever watched. Alex is an amazing person with total command of his technical and artistic abilities. He is also quite amiable and presents himself so well that he reminded me of Al.
Keep up this great work Steve!
You are kicking butt among the audio bloggers with all of these great interviews that you have been presenting.
Awesome comment and I agree 100% about this interview.
@@JohnDoe-np3zk Thanks for your reply. I learned a lot from this video.
Very informative. This gentleman is both capable and articulate. I'd like to hear his thoughts on DSD.
Second that.
I’ve certainly known sound engineers who covert and obsess over different compressors like audiophiles do gear!! Thanks for helping knock some sense into us Audio-fools 🥰
Exactly, you want that ideal fat clean juicy dirty warm transparent character
Alex is.....know how. There are maybe few guys on earth that have this deep awareness and knowledge about audio and sound like him.
this was so interesting, thank you Steve! More like it please!!!
Cool interview, thanks Steve and Alex.
Really enjoyed this interview. Steve had good questions and Alex really did a great job answering from the record maker side.
Hi Steve.Out of curiosity are there any recordings you're familiar with and might recommend that have been engineered in these studios?
Thanks to you and Alex for yet another wonderful show. I enjoyed Alex last time very much.
Alex seems like a real down to earth yet erudite person. His knowledge comes across as a teaching moment rather than a moment of inertia that must be captured while being benevolently doled out to the plebeian masses 😄.
But seriously, what a set-up! A cabinet maker has his shop, a scientist has his laboratory and an engineer has his studio and this studio has been studiously birthed indeed.
A tour of the facility would have been icing on the already yummy cake. But the Audiophiliac works in still camera only 😆 because carrying around that tripod aint no fun at all.
-✌🏼
Nice intreview.
And look, no expensive cables 😃
Right, that's why YOU should stick with the cheap stuff! Enjoy!
@@SteveGuttenbergAudiophiliac
There is cheap and there is inexpensive.
Come on now, you can't put out the low hanging fruit and not expect a harvest. 😄
-✌🏼
Very cool interview. Lots of great insights.
In presenting Alex’s stance on compression to others, they have countered with Alan Parson’s statements that he has successfully avoided any use of compressors (?). I doubted this claim, and purchased Parsons large book on Sound Engineering. Sure enough, on all modern projects and even going back to the drums on Dark Side of the Moon, Parsons claims to have avoided use of compression during tracking. He says he manually rides the fader during vocal performances.
Bruce Swedien, who recoded all of Michael Jackson’s biggest hits, was also well known for his rejection of compression during tracking.
@John Clancy
Al Schmitt was another engineer who would only use very mild compression and ended up with 23 Grammy awards.
But to be fair, "riding the faders" IS a form of dynamic compression and/or limiting.
You earned this Alex.
Wow, that in wall speaker setup is amazing. Wall mounting is a good way of eliminating some of the room influences of the sound.
There are some very good in-wall speakers from top consumer manufacturers...
There are some very good in-wall speakers from top consumer manufacturers...
I really like Alex! Seems like a really nice person who knows what he's talking about! And won't hesitate to share them with us.
Hey Steve. I love your interviews! Please keep them coming. Personally, I enjoy them much more than reviews. You have that personable touch that brings people out of their shells.
my god! im having a geargasm!!
I like this guy. Very articulate and well explained.
Wow, that studio looks so awesome - finest gear ever!
Considering his commitment to hi fidelity Im surprised he went with Burl over Lynx..
I find burl converters coloured, he did address that as saying they soften the signal before the SSL..
Holy hell, I don’t even wanna think about construction on that space in NYC.
Cymbal Bleed... excellent point. I remember the first time I heard the studio version of The Who's A Quick One. Like chalk on a blackboard. Way too much cymbal...remember SNL the "Cowbell Skit." Playback of a recording is an illusion. Without some help, an illusion may become a nightmare.
Liked this one a lot. Thxx
Thanks Steve - the interviews you share offer insight into audio areas that we would otherwise not have access to. Very interesting and informative.
Awesome!
I love the interviews Steve!
What a great episode, and such a great guest with a lovely voice. I would love to spend time in a studio seeing how a record gets made.
Damn, favorite episode ever!
Alex is a very intelligent and thoughtful guy. I learned a lot from this interview. Thanks.
Looks like a great studio, but why not active atc nearfields...?
I've not experienced those particular Amphion near-fields he's using, but the Finnish mfr's other offerings are quite good.
Why would he want yet another pair of ATC's? In a studio, you want several DIFFERENT types of monitors available.
My mouth hangs open..😮...WOW! ...just WOW! I understood little, but am jaw-dropped impressed and humbled by what goes into creating a good recording! Also, I definitely need some "Height-Motorization" in my living room!!!😂
Thanks for this treat Steve! 👍🏼
Very nice episode. Educational. Congrats on the beautiful studio.
Interesting subject 🎧✌
Nicely done,the level of detail is great.👍
Smart, well educated and articulate. Lad knows his stuff. Fine job on the new studio.
Dynamic Range is a tool like all others. It can be great, or you can trash your product with it.
He even has separated amp from the speaker and he didnt mess with it... Oh now i remember, this is the apple earbud guy
To be fair and impartial, you really should now follow up this video with interviews of David Chesky, Kavi Alexander, and Pierre Sprey; asking them what they think of using compression in music recording and mastering.
I understand, but the difference is those guys are recording music to be listen to at home, in quiet places. Pretty much all other recordings are going to be listen to in cars, trains planes, outdoors, in noisy places. That’s why music needs to be compressed. Among other reasons
@@SteveGuttenbergAudiophiliac And along those lines I'd be interested in Alex and your take on Dolby Atmos 3d sound for two channel speaker and headphone production. Qued up by Apples's recent anoucments.
@@SteveGuttenbergAudiophiliac
Thank you very much for the kind reply. : )
I'm thinking ... if Chesky and Kavi were tasked to track, mix, master, and release a well budgeted and produced pop effort akin to Daft Punk, Adele (or any similar big release) for example, ...
I don't believe they'd criticize or be adept at improving the sonic decision making on those killer recordings.
Most of these producers/engineers work with acoustic music. Once you start plugging stuff in it gets a lot different.
Very impressive. I wonder how many watts it takes to run all of that equipment?
super interesting. thanks for this interview.
I’d love to hear an audiophile sound engineer discuss mixing for the public. Some people listen to earbuds, others on audiophile systems, most also listen in cars. How does the final mix get chosen to make everyone as happy as possible?
Some engineers mix with ”crappy” midrange speakers like Auratones, if you get the mix sound good it will probably translate to other systems.
@@millmoormichael6630 Nothing could be further than the truth.
Mixing is all about translation-- how well your mixing system translates onto other platforms. The wider the range of speakers your product sounds good on, the better the overall sound is. You can make a bass drum sound like thunder with 18" subs but, it very well may sound like a puff of wind on a 5 " woofer.
To get mixes to sound great on a variety of systems is really more of a mastering thing rather than a mix.
ATC SL Speakers 🤤 💗
He tried to make a point that the amplifier is separate. It’s not. It is the same amp. I have exactly the same amp in my ATC. And the pro line is exactly the same as the consumer line. Exception is finish and one more thing.
@@crossocean5663 - the point he made was that you have the option of an external (rack mountable) or speaker cabinet mounted amp with the Active ATC monitor line. The ATC SL line is available with a Passive Crossover as well.
@@keplermission4947 - seem professional help. Seriously 😳
The analogy I would use is that of photography: the celluloid or sensor doesn't see things the way the eye does which is why we need compression to make sure we don't peak or crush the image.
@@keplermission4947 I believe we are discussing two completely different uses of the word "compression". You are referring to the implementation of codecs for file sizes. I was referring to the compression of the waveform when recording or engineering, in order to prevent a microphone input from clipping, which is what Alex was referring to in the video.
@@keplermission4947 okay then. Best of luck.
@@yuckysamson
You're absolutely right, and it's lost on so many people... including the above individual.
The two applications of compression are peak limiting primarily at mastering, and dynamics contouring as a tool at capture.
File size data compression/bit rate reduction ... at the encoder stage, is NOT a relevant element to what's being discussed here.
Finally a studio... Love it
Really enjoyed this Steve 👌
Great video. Lots to digest. Steve keeps delivering amazing content.
“…a microphone does not hear like the human ear. What recording engineers do is to manipulate the raw input to something that the ear is familiar with”
but why, you hear it later with your Ears, in that case it is a double correction and give wrong results
@@cbts001a4
No double correction, only that first one ... shaping the mic input to sound best.
@@cbts001a4 - that is not the case. imagine a photograph. If you take a picture, and when you see it, it doesnt look natural. That's because our vision is also like our hearing. It adjusts to ambient factors, light, and the same is for sound. You need the ambient factors in the environment, for the brain to make the correction. Without additional information, there is no correction. A photographer adjusts a photo before printing to reflect his vision, or what he saw. In general, the warmth, the brightness, and the contrast. Audio is the same. Try making a recording of someone in a room while you listen live. Now play it back. Suddenly, you will hear all sorts of echoes and sounds you didnt hear live. This is because without the other factors, your brain won't adjust.
@@veniceog
You're absolutely right, I misspoke about the correction I intended.
The motorized speaker stands remind me of my electric sit/stand desk. Basically, the same thing, but split into two.
Well. Look at that Steve.... a pair of ATC speakers. I see you are inching closer, when is the ATC SCM50ASL review my friend?
Love the Amphions appearing magically in the end. Got a pair of Amphion 7LS at home and can't say enough good about them. Probably my last set of speakers!
Fantastic episode Steve ... This is my world 🌎 of music. As well as technically being an audiophile, my passion is recording technology and recording techniques. I've never believed an audiophile recording is a couple of mic's recording a few acoustic instruments in a church hall ... No! Recording is akin to artistic painting or high end photography/film making. Multiple levels of complexity are needed to create an authentic result ... Alex's studio is INCREDIBLE 😎
Alex, everyone is alway talking about pulling speakers 3+ feet into the room for good response. Are these speakers built differently to work well In-Wall? If so, how? Different cabinet design or materials? Crossover and/or driver design different…?
I saw the video, understand the decoupling aspect… But that’s not what I’m asking about. I’m asking about acoustics, room boundary…
Krist David, you pro
No design difference, it's simply implementation via EQ.
The same monitors can and often are used in the open, spaced off the walls.
It's just EQ'ing the freq response to acount for elevated LF due to quasi 𝘏𝘢𝘭𝘧 𝘚𝘱𝘢𝘤𝘦 loading.
All of the energy is radiating forward into the space. Due to wavelength size it's a frequency dependent issue, thus LF is bolstered more and needs to be pulled down.
It's spatial loading, how the monitor's output is acoustically loaded.
Varies in situ, but operating free space, then introduce a boundary yields a +6dB
𝘽𝙚𝙣𝙚𝙛𝙞𝙩𝙨 𝙤𝙛 𝙛𝙡𝙪𝙨𝙝 𝙢𝙤𝙪𝙣𝙩𝙚𝙙 𝙢𝙖𝙞𝙣𝙨;
1.) additional LF headroom
2.) elimination of SBIR, Speaker Boundary Interference Response
3.) superior transient response and phase coherent clarity and imaging
4.) diminish the effects of edge diffraction, resulting in smoother midband
In typical, non-flush mounted setups (speakers off front wall a few feet, off the sidewall a few feet), the listener experience can lack impact, clarity and well delineated bass detail.
𝙋𝙧𝙤𝙗𝙡𝙚𝙢;
All the adjacent boundary surfaces at varying distances, generates a 𝙙𝙚𝙡𝙖𝙮𝙚𝙙 𝙢𝙖𝙨𝙨 𝙤𝙛 𝙚𝙣𝙚𝙧𝙜𝙮 that follows the direct sound by milli-secs, 𝙤𝙗𝙨𝙘𝙪𝙧𝙞𝙣𝙜 𝙙𝙚𝙩𝙖𝙞𝙡, 𝙘𝙧𝙚𝙖𝙩𝙞𝙣𝙜 𝘽𝙄𝙍 𝙘𝙤𝙢𝙗 𝙛𝙞𝙡𝙩𝙚𝙧 𝙣𝙪𝙡𝙡𝙨, 𝙣𝙚𝙜𝙖𝙩𝙞𝙫𝙚𝙡𝙮 𝙞𝙢𝙥𝙖𝙘𝙩𝙞𝙣𝙜 𝙞𝙢𝙖𝙜𝙞𝙣𝙜.
Addressing this delayed energy is vital. Flush mounting achieves that.
The delay time involved is the issue.
Our hearing doesn't delineate it as spaciousness ... it just smears the direct sound.
𝙁𝙡𝙪𝙨𝙝 𝙢𝙤𝙪𝙣𝙩𝙞𝙣𝙜 𝙙𝙤𝙬𝙣𝙨𝙞𝙙𝙚𝙨;
Euphonic soundstaging components like spaciousness, dimensionality, ASW (Apparent Source Width), aren't part the experience.
Places greater importance on the acoustic characteristics of the rear boundary wall behind the listener.
Thanks for the great reply. I own a pair of Tantra 6 LCR In-Wall speakers, they sound pretty good. The cabinets are made of (cast) volcanic ash (and some kind of resin I'm guessing), SEAS Prestige drivers. (Subwoofer is Tantra TS12)
@@tallpaull9367
Nice! Although I'm not familiar with Tantra, inwalls have great inherent advantages. Are you pleased with the results?
Thanks Steve very enjoyable
Nice Interview! - I worked in a few $1 million buck studios in Austin, but this looks far and away much more than anything I ever used. The concepts the same but I'm sure the results are incredible.
Good on you Steve for raising the issue of compression. Average level of recordings has risen by 20dB since the introduction of digital, just compare an 80s CD with a modern file. As you said why record 24 bit when you are only going to use the top 4? Great answers from Alex but I don't buy into the streaming companies using normalisation. All this does is raise their content to a comment level thus pushing the louder tracks further into distortion. Bring back dynamic range......
I record at home. Drums never sound like drums unless I compress them. I hear the drum live, the recording does not sound the same unless I compress.
Then don't record them in your basement. If you record a drum kit in the most perfect sounding auditorium with a single mic and no compressor, it will sound great.
@@keithmoriyama5421 Good point, these are world drums - bodhran and others, but I believe you. I don't have an auditorium most days. Compression makes a bodhran in a recording sound more like a bodhran "in my basement", as you say. Without compression it is an unrecognizable thump.
@@keithmoriyama5421 That is not necessarily true..... recording drums without ANY compression will always sound dull & lifeless on a home system. You need SOME compression to make it palatable. It would be like cooking without salt. You need some salt, but not too much.
Alex, I hope it's a very inspiring, profitable and a passionate becoming for you.
Moog.... great points.
So how do the ATC speakers sound???
Like pro speakers
Very, Very Cool!...s
Thanks Steve, great discussion.
Were those Buchardt or Amphion speakers? 🤔
Amphion
Pro is the way to go.
Good to see the SSL set up. I’m always let down when I walk into a studio these days and all I see is an iMac and a mouse.
Very nice and informative...............meanwhile, over in PS Audio land, you have the 'new' Octave Records studio under contruction, running on DSD 1 bit (O: That will be interesting since Paul is very hopeful to own one of the most advanced recording facilities once operations get underway after construction.
I keep pushing him to leave a large sound staged room for recording symphony orchestras AND live Jazz ensembles in TRUE STEREO, with NATURAL reverb. We'll see if it happens.
DSD is a flawed format with a lot of noise inherent to the format, plus there are no computer tools capable of handling DSD. So everything is done in PCM and converted in the end to DSD. DSD is ok for archiving analog because there’s little mastering involved, because the analog source is already mastered. Those claiming DSD is better than PCM have an agenda. Now with hi-ris PCM, DSD is really no longer valid.
@@afrancois1968 Wow, so cut and dry there, may I suggest you do a read through your post before sending? (for obvious reasons). I have been observing the efforts of Gus Skinas, I don't think he is 'archiving' lol. I own many DSD recordings and I think they sound very nice. On the artifacts you mentioned inherent to the format, isn't it the technique of 'noise shaping' that took care of that? And the 'harshness' of PCM? Jury still out on that? I know it comes up in these discussions. Back to you Alain.
@@garysmith8455 Most of the time the quality of the recording and the quality of the format are not the same. So yes there a lot of very good sounding SACD’s , this however doesn’t mean they can’t be bettered or equalled by other formats. DSD is known for its lack of slam or impact. Softer sounding if you wish. Harshness in PCM is non existent in a good system. I know, because it took me a long time to reach that point. If the recording is inherently harsh of course nothing can fix that. Why do you think that converting PCM to DSD is so popular among some? Because it makes it softer sounding or perhaps their DACS aren’t good PCM DAC’s. DSD DACS are lot easier to implement, hence DACS that convert everything from PCM to DSD first. I made some syntax error or what are you referring to?
@@garysmith8455 Here's an interesting article for you to read, especially the chapter 'The Myth of pure DSD.. www.mojo-audio.com/blog/dsd-vs-pcm-myth-vs-truth
@@afrancois1968 Thanks Alain for your thoughts, AND for the links as well and taking the time. The little jab about your writing was concerning a missing word and what looked like a mis-spelling, no worries, just that you seem to be pretty exacting in your wanting to get your point across and I was simply surprised to see the 'omission'. Again, thanks for your reply.
You almost expect Captain Kirk to walk in and say. " Mr Sulu, increase speed to warp 4. Mr Spock, what's our position? Are we there yet?"
Good for audiophiles to learn the basics of how music is made
A Maselect e q in a recording studio,, that is what I use in my mastering studio ,,nice,,,Atc speakers rule,
which records they mastered? any recommendations?
That huge drum in the BLUE MAN GROUP stage act; lotsa luck recording that without compression.
As Artie Johnson used to say, Very Interesting....
Wow I hadn't thought thought about that phrase in ages.
... "but stupid"
Laugh In ... under-rated, good stuff.
Those monitors behind Alex are ATC. Almost every multi-million facility uses ATC. The ATC cabinets are built into the wall for a perfect “half-space” sound - it is actually impossible to do better than this type of setup which is why EVERY high end facility soffit mounts main monitors and have done so for 50 years. There are NO reflections at all even in the bass - perfection in acoustic sound generation. And there is nothing better at accurate sound reproduction than what ATC offer. My guess is the speakers alone cost $200,000
where those little ones Amphion studio monitors?
I think so
Tweeters are too high.
A lot of buttons.
YES... audiophiles need to hear more real information like this, about mixing and recording. Their vilification of compression and EQ is phobic..... yet all of our favorite music has been compressed & EQ'd to some extent.... usually on really great equipment manipulated by very talented and passionate engineers. It's sad that so much of the resolution and dynamic range of great recordings is getting obliterated by over-loud mastering practices. (but it's not usually the fault of the engineers..... somebody PAID them to master that loud)
Impressive interview! Also Impressive Sub count!🤔😇
I wish someone had told me about the John Linsley Hood amplifier before now. I've 63vand owned lots of amps and preamps Audio Research SP3 V70 sp 10 Sp11 LS etc audionics Yada Yada but this little 10lb at current price$200-300 wonder is one of the best sounding amps I've owned. Not sold as a brand name amp except in China but should be. Even satisfies socialists. Is not embarrassed by anything.
Steve I really enjoyed this interview! and I’d love to hear his work , can you point me in the right direction,,
I learned something new 24 bit provides more headroom so 24 / 96K should make a audible difference over 16 / 44K
Yeah. Importantly he is talking about needing it for all the signal manipulation he needs to do (volume adjustments, compression, eq, summing - all in the digital domain). Also he is doing an additional DA and AD by using the outboard mixer. This is consistent with what I’ve heard from sound engineer friends, who’ve said they would not need more than 16/44 for the final master.
Is this person the same person that owns Sterling Sound?
Sterling Sound was founded in the late 1960s by Robert Lee Hulko.
@@georgeboubous8318 thanks for the quick reply. I really like to see were recordings that I purchased where they were recorded, mixed and mastered but I am not that involved in the recording industry to really understand everything that goes on in the recording and mastering facilities. I appreciate your reply.
Wawawewa
Audiophile trigger warning!!! Compression is a reality and a necessity in recording!! That is all"!! Lolz
I might be in the minority but I miss all the crazy colored gear lol
Like @12:09 or @12:15?
Seems to me like all of those "loudness war" brick wall dudes need to watch this interview. Dynamic range compression is NOT a damned sledgehammer!
Did you use some kind of fish-eye lens on the camera? There's some weird distortion of the image going on and it's making me queasy. And the guy's head looks much too small for his body, due to the camera work. I started laughing when it first started because it looks like that scene in Beetlejuice with the shrunken head.
I think the recording engineering process is shockingly poorly understood by most audiophiles, and it shows in the types of myths audiophiles buy into (literally and figuratively).
No Auratones? I guess cars don't have crappy mono radio speakers anymore...but bluetooth speakers do....ugh...lol
So he's saying MQA is a good thing then!!??
In 1979 I made $3 an hour washing dishes. I paid $7 for an LP.
Today I make $60 an hour and pay $20 a MONTH for all the digital music I choose to listen to.
Experts like Alex can’t be getting paid enough.
7:33 speakers
10:29 console
Building this in NYC is a complete waste.
Yes I agree no good music has ever come out of NYC!
The worst possible location to build in the US, is what you picked. Isnt there an exodus from NY the same as there is an exodus from California?
When did he start planning and building out this studio? When did the pandemic hit? Also curious what location you feel would bring in more business. South Florida? While many businesses and workers have fled NYC, I don't expect NYC to stop being a hub for music, art and artists. In fact, the exodus should lead to lower prices in NYC and more artists moving back into the city.
@@RootsMusicHawaii The exodus are primarily people with means. In other words people with the money. People who could afford to venture their capital into a poor artist giving them a chance of a lifetime to record music in a real studio. Those ventures often fail, particularly in a flooded market where mainstream popular "music" is made on a laptop, requiring little musical talent or skill.
I hate bad compression as much as any audiophile (probably more than most, I really do get that viceral revulsion for badly done compression) but without dynamic compression, car audio and much of personal audio would be far less enjoyable. But just try to reproduce a drum accurately without any compression? Even systems that take 20 semi trucks to move the speakers and have hundreds of thousands of watts (some even approach a megawatt) of audio amp output can't do that - litterally every amp would clip, the voice coils would compress due to heat, and many drivers would bottom out or be physically damaged. All of this reminds me of an old cartoon where an audiophile converted his house into a speaker and moved into his garage. In the drawing I remember the wife was sitting in a fancy chair next to a grubby toolbox, making tea by holding the teapot over her head while steam poured out her ears!
Don't worry Steve "ASR members" will always find something wrong even with this kind of setup.
Alex could use a short lesson in sitting for a camera without distracting from his message. Steve this is your job.
Snoozeville
Hey thanks for watching a boring video?? You’re out of sync with everyone else who’s commenting!
@@SteveGuttenbergAudiophiliac your out of sync with actually reviewing products anymore.
@@JohnJohn-lk4lq Says the person who doesn't know the difference between you're and your. Says the person making pointless comments instead of moving on to something he finds interesting. Says the person who always has something rude to say because he's miserable.